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stravinsky

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  1. Can't believe the amount of anal minutae on this forum. Who gives a toss if it's the same music but a different take? Christ.
  2. It's just a bit of a, shame Williams didn't write this himself, because if he had it would've been the highlight of an otherwise disappointing and lackluster score.
  3. Was the 1977 Album comprised of newly recorded versions of the film tracks? Dumb question I know.
  4. I just listened to Part 1 of the podcast discussing Rogue One but I can't find part 2. Was it ever produced?
  5. Doh! Of course. By the way I was fascinated to READ your notes in relation to "early never recorded versions" of 13 cues. How did you find out about this? What a dream it would be to track down the scores and have this material re-recorded. But that's asking too much. I've also often wondered if Williams actually wrote music for scenes which were later cut from Episode IV although I suppose if he had done they would've been released by RCA in 1997. Lastly I've just been on Discogs to track down the credits of an old tape I bought when I was 13 years old because I wanted to hear the music for E. T I vaguely remembered what the cover looked like but couldn't remember the band or conductor. Turns out it was an old "Music for Pleasure" release with suites from E.T, CE3K and Star Wars. Some guy called Frank Barber conducted the LSO and National Philharmonic. The album was never released on CD. Yes I guess you are right. Well whenever you finish your latest editions will you let me know? I'd love to hear them.
  6. Listen thankyou so much for your insight. I always skip pass the Main Titles so that's how I missed it. Dear Jay. Thankyou very much for this. I had a hunch that little cue was split up and I felt those were separate little cues. I hadn't realised the alt Main title was on the Anthology set which I still have. Thing is I always skip past the Main Titles so didn't notice. Its funny that with each and every release of the complete SW soundtracks, certain tracks have continued to be sandwiched together incl "Tales of a Jedi Knight/Learn about the Force". Is it too optimistic to hope one day that an official future release will be crafted with every track separated as per the way Mr Manikin has done it? Also one of my favourite moments in all Star Wars music is what must be the shortest cue written for the entire series of 9 movies. Its the little add on moment of The Moisture Farm. Is there an official title? Or is it just "Moisture Farm 2"?
  7. OK thanks for that. It was just to ask if you'd heard the very brief chromatic slide towards the opening of the main title which was later cut (just one chord) which David Collins highlighted in his podcast. He played the openings of three different early takes which are included as an Easter egg. Its fascinating to hear.
  8. Thankyou! And your opinion of "Learn about the Force"? As well as the cut chord I mentioned in the early main titles? Cheers Raymond
  9. Dear Manakin. I have just listened to your edit of Episode IV on YouTube and I'm really astonished to hear clean openings and endings of every cue for the first time in 40 years. I wanted to ask you if there are prevuously unknown different takes here that you have utilised for this edition because some of them sound familiar yet not familiar. For instance at 0:15 into "The Hologram" there is a tiny recording artifact which sounds like someone vocalising. I remember it from the original LP set but by 1997 it was absent from the RCA release. I've wanted a spliced up version of this score which reflects each cue exactly as heard in the film like this for years! Also am I right in saying that the cue "Learn about the Force" is actually composed of three short cues? Maybe just my imagination. Lastly I've just been listening to David W Collins' excellent podcasts for the first time and I was actually astounded to hear something I had chosen to ignore. He describes three preliminary takes of the main title included as the bonus at the end of Disc 1 (which I never really paid attention to) as a kind of process of changing the notes. But listening to it I was astounded to realise that these early takes of the cue included an orchestrated chord which was actually CUT! This being the very first chord of the score. Even though its only one second of music, still this score after 42 years is still opening up its secrets. Its a pandoras box this music and all the better for the tiny revelations you've provided with your excellent edit. How on earth did you manage it?
  10. I love this theory. Especially in light of the fact that I found this last score disappointing (perhaps Williams just wasn't inspired enough by the execrable movie). I was hoping for at least one stand out theme. The others are forgettable. Flaccid almost. A real shame. It would be great if Williams had indeed written this Sith Trooper Fanfare. However was it not unequivocally established that another composer wrote it? Whoever did it is a master of imitation.
  11. I don't know long that must have taken you to programme it all in but this is fantastic music for a Chase Scene. Great pastiche of Williams. Well done mate. Impressed.
  12. To think that wonderful Fortress of Solitude music lay buried in a vault for 40 years. Its wonderful music. Full of wonder. As is the first few minutes of the Prelude before the main title. Enchanting. This is one of my top 5 favourite scores from the master. Pure gold.
  13. Hello can anyone tell me if the previously unreleased tracks on Disc #1 of Inferno are now true Stereo even if they were built up from Mono sources? Would they have been created the same way the scores for Jaws and Earthquake were assembled? I mean from separate Mono stems now remixed to Stereo? Because they sound Stereo to me. Track 19 has no asterisk beside indicating it is Stereo whilst the fantastic track which follows it (Out of the Shaft) does have an asterisk. I'm confused. Would the treatment of these Mono tracks be similar to the way old LPs in the 70s presented Mono as "Fake Stereo?
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